Here’s a curious surprise. Entertainment Weekly suddenly revealed that the Hit-Monkey animated series was heading to Hulu in November with our first look at the series. Noticeably, the Marvel logo was absent in the initial promotion which led to a report that the show’s bloody action would see it act as an independent series. Yet, the trailer has finally dropped revealing that they did decide to add the Marvel logo and even promoted it directly through the Marvel page. As such, it now is titled Marvel’s Hit-Monkey moving forward similar to the M.O.D.O.K. series, which it was originally going to crossover within The Offenders.
The first promotion also confirmed the show’s cast with Fred Tatasciore voicing the titular monkey. As we found out, Jason Sudekis will play the ghost of Bryce, who pushes our main ape through his hitman journey. The series has also added George Takei, Olivia Munn, Ally Maki, and Nobi Nakanishi in various roles. The series will consist of 10 episodes that’ll premiere on November 17th on Hulu.
Superhero movies and television have dramatically increased in quantity in this early part of the 21st century. Where only the most iconic heroes used to be recognized by the general public – think Superman, Batman, Spider-Man – even non-comic book fans now can list their favorite superheroes by the dozen. While DC entertainment and its characters seem eternally well-known and loved, the change in the conversation around superheroes on screen is in no small part due to the wild success of the Marvel Cinematic Universe.
Superheroes and their film and television exploits in particular have found their way into what feels like nearly every part of society. They routinely bring in over one billion dollars per film at the box office and inspire millions of fans. Still, the biggest award shows in the game, the Academy Awards and the Emmys, have long notoriously snubbed superheroes, or anything comic book-related. While WandaVision and The Falcon and the Winter Soldier have managed to secure Marvel Studios’ first Emmy nominations, its WandaVision’s astonishing 23 nominations – and currently 2 wins – are making headlines and history. So, is Marvel Studios’ first Emmy-winning series simply an anomaly? Almost certainly not. Looking at the history of how superhero visual entertainment has fared at major award shows, it’s pretty clear that the trend going forward is more critical recognition of the genre. In honor of WandaVision, let’s look at the Emmys. It’s an incredibly shortlist of winners.
In 1978, Mariette Hartley was nominated for Outstanding Lead Actress in a Drama Series for The Incredible Hulk and actually took home the same Emmy in 1979, marking the first nomination and win for a comic book superhero franchise. The Incredible Hulk’s success remained the only Emmy recognition for a whopping 42 years until DC’s Watchmen opened the floodgates in 2020. The series won 11 Emmys out of 26 nominations including Best Limited Series, Outstanding Lead Actress, Supporting Actor, and Outstanding Writing for a Limited Series. Watchmen’s resounding success after virtually no recognition of the genre hasn’t slipped away quietly.
This year’s Emmys have recognized several comic book adaptation series including WandaVision, The Falcon and the Winter Soldier, The Boys, and The Umbrella Academy.WandaVision (along with The Boys) also follows Watchmen’s recognition in major above-the-line categories. Those include Outstanding Lead Actress, Actor, Limited Series, Supporting Actress, Directing, and Writing (twice) for a Limited or Anthology Series. The door for comic book superhero movies apparently blew right open for the Television Academy.
Historically, superhero films have fared slightly better as the Academy Awards, or Oscars. Still, only nine comic book superhero movies have actually secured a win—and they are not at all what you would guess. Superhero movies have been recognized, generally, in technical categories, such as Best Makeup and Hairstyling, Visual Effects, etc. In fact, Suicide Squad (2016)is an Oscar-winner for the former category, and Spider-Man 2 also took home an awardin the latter. Two wins have been as Best Animated Features. In 2009, The Dark Knight became the first to win an Oscar in a major, above-line category with Heath Ledger’s posthumous award for Best Supporting Actor, and boasted 8 total nominations.
It was not until ten years later in 2019 that Black Panther, among its seven nominations, became the first comic book superhero movie to be nominated for the coveted Best Picture category. It also took home 3 awards, giving Marvel Studios its first Oscars. In 2020, though, Joker, the iconic DC character made history again with a superhero record-breaking 11 nominations, including for Best Picture, Best Actor, Best Director, Best Adapted Screenplay, Best Editing, and Best Cinematography. The film nabbed only two awards though, including Best Score and Best Actor for Joaquin Phoenix’s performance.
It is clear that award shows are beginning to recognize the superhero genre. Still, it has not been a gradual increase over the decades. Instead, it arguably did not begin until the 2000s, and truly not until the late 2010s and early 2020s. As clear with this year’s Emmys, superhero film and television are finally getting the official acclaim that is arguably long overdue. The question is why, and more importantly, why so much seemingly all at once. Are superhero series and movies actually getting better or are more and more critics simply becoming fans themselves? The answer is probably both.
The superhero genre of the past was traditionally represented by flat “popcorn” flicks that simply brought comic book characters directly off the pages they came from. The goal was pure, simple entertainment with “shiny” action and larger-than-life science fiction-type stories devoid of much else. To some, the genre still carries that stigma and the assumption is that these movies and television series are nothing more than fun money-making ploys. However, as anyone who has watched enough of them can tell you, there is so much more going on lately.
The sheer amount of films and shows have created an entirely new following and system of storytelling. An easy explanation is that, with countless properties being adapted and created, each one has to fight its way to being better than others in order for itself to stay afloat. A better explanation, though, is that the world has become so accustomed to superheroes and their stories that film and television makers can now shift their focus away from the classic empty but shiny plots to showcase and deliver deeper and more meaningful stories, using the genre as a vessel to do so.
While award shows have not traditionally been kind to comic book superheroes, the change can be seen, particularly just in the past few years. If this year’s Emmys, with WandaVision’s already noteworthy success, are any indication of what is to come, these beloved stories might be poised to be at the podium in record number in the near future.
We’ve been hearing more and more about what it’s like to work with Marvel Studios. Disney+ is some unknown territory for the production company and may have shifted their approach to adapt to the new format. Unlike their films, they can’t follow the usual three-act structure but have to find a different way of balancing the dramatic and action aspects of their projects. WandaVision showrunner Jac Schaeffer shared the challenge she faced getting the fight scenes down after focusing primarily on the dramatic aspects of the story. In the interview with Hollywood Reporter she shares that:
The finale was the hardest because that’s the Marvel-iest part. It’s always tough to really nail down on the mythology. What does Agatha [Kathryn Hahn] want and what does her power set look like? What does that mean for Wanda? How do we make that interesting? What’s the chess board where all the players give everybody a satisfying conclusion? It’s the third act of a Marvel movie. I’ve been around the block on some of those, and they’re so fun — but that’s always the hardest to land.
Jac Schaeffer
She highlights that the iconic and gut-wrenching goodbye sequence was the clearest vision she had going into the project. Yet, the path filled with fights between two Visions and Wanda’s takedown of Agatha took the most time. Most of the series pays tribute to classic sitcoms and takes quite the shift in the finale. Schaeffer‘s comment does highlight that they are one of the most challenging aspects of these projects. Action sequences that tie the entire story together while also keeping a dramatic core aren’t easy to balance. It can sometimes drag down a strong story if it doesn’t nail the ending. Luckily, WandaVision was able to accomplish just that.
After a long wait, Hit Monkey has finally been unveiled. It’s one of the last entries that was once set to become part of The Offenders crossover at Hulu. Yet, even with its release date out there, the thing that may have caught many reader’s eyes is that it doesn’t have the Marvel title. Even MODOK held the title in its advertising for the series even with its darker, adult-themed humor.
It is still based on the Marvel character, but won’t hold the title just like Helstrom did right around the time Marvel TV was absorbed into Marvel studios. We may have gotten an answer on why, as ComicBook.com’s Adam Barnhardt shared on Twitter that it’s being left out due to how violent the series is going to be. It may also be the reason why the last Marvel TV live-action series also lost that part of the title and not due to the merger, as many suspected.
It’ll be interesting if Marvel Studios’ future projects might take a similar approach. Deadpool kept its R-rating and Marvel logo while beheading enemies. Yet, it also was published through 20th Century Fox that doesn’t have the same limitations that Disney has. We know that the third entry in the Deadpool franchise will be part of the MCU, which means it’ll hold the Marvel Studios title. Perhaps Hit Monkey might be the last not to get the title, as Marvel Studios starts developing their future projects.
Some time ago, Marvel TV announced a variety of shows that’ll crossover into the so-called The Offenders mini-series. Most of the series ended up getting scrapped but some productions were along far enough they’d still see the light of day on Hulu. The recent release of MODOK was the first series, which took a stop-motion approach to its animation style. It looks like the next survivor has found its way online, as Entertainment Weekly unveiled Hit Monkey is heading to the streaming service as of November 17th.
Alongside the release date, we also got our first look at the show’s titular Japanese snow macaque and his hitman ghost friend, Bryce. The dark comedy follows the events after Bryce nursed him back to health. Yet, after his passing, the macaque picks up his assassin’s ways to avenge his friend, as his ghost, voiced by Jason Sudekis, continues to haunt him throughout the show.
The November release isn’t too far away and could be our hint at a potential trailer dropping at the latest of October. It’s curious that the series takes a more traditional 2D animation style, as they were supposed to crossover at some point. The concept of multiple shows with unique art styles colliding does sound like an exciting concept, but we’ll see if any of these series get a sequel season. There’s still no word on MODOK‘s renewal but only time will tell. For now, it’s great to see some of the more unique ideas still survive after the Marvel TV and Marvel Studios merger. We’ll see if their success leads to more down the road.
Back in January, we looked at one hypothetical 2022 release calendar for Marvel Studios. We’ve been through another round of production delays and release date shifts and with 2022 just a few months away, have a little bit better idea of when we might expect to see Marvel content next year. With that in mind, here’s version 2.0 of a totally made up and hypothetical way Marvel Studios 2022 release schedule might look.
Originally set to stream on Disney + in 2021, rumored production delays pushed Ms. Marvel’s MCU debut to 2022. With the number of streaming series Marvel Studios has to get through in 2022, it would seem like they’d want to kick off the new year with a bang, debuting Ms. Marvel as soon as possible, dropping the first of the expected 6 episodes on January 5th.
Now that Wednesdays are the new Fridays, we know that Marvel Studios has no aversion to dropping a new film while a series is streaming. With that in mind, it’s possible that the they get She-Hulk’s 10 episode run started as early as February 23rd, one week after an episode of Marvel Legends catches fans up on the stories of Bruce Banner and Emil Blonsky, two characters who will have big roles to play in the series.
While She-Hulk is in the middle of its run, fans will FINALLY get the sequel to 2016’s Doctor Strange on March 25th, 2022 when Doctor Strange in The Multiverse of Madness hits theaters. Marvel Studios will almost certainly have a few episodes of Marvel Legends ready to view to prep fans to remind fans not only of what Stephen Strange, Wong and Mordo have been up to, but also to remind them of the journey of the film’s primary antagonist, the Scarlet Witch.
Right after She-Hulk finishes its extended run (remember, it’s 10 episodes and will stretch from late-February through late-April), fans will be able to head to theaters for the next chapter in the saga of the God of Thunder when Thor: Love and Thunder comes crashing in on May 6, 2022. Marvel Legends episodes covering the journeys of Thor and the Guardians of the Galaxy are almost a sure thing and we’ll certainly need to catch up on Natalie Portman’s Jane Foster, who will have been absent from the MCU for almost a decade when this film releases.
From the God of Thunder to the avatar of the Egyptian God of the Moon…Marvel Studios Moon Knight, featuring Oscar Isaac in the lead role(s) could hit Disney Plus as early as May 11th. In our first draft, we had Moon Knight streaming about one month earlier, but with Ms. Marvel moving to 2022, it got pushed. Realistically, should Marvel Studios wish to do so, they could move Ms. Marvel to this slot, much closer to the character’s next appearance in November’s The Marvels.
We’re not sure if Marvel Studios will go this route, but interestingly enough the mythology of Moon Knight has some ties to the mythology of Black Panther. Should Kevin Feige and crew wish to make that explicit on screen, there could be some small connection between the two that would make Black Panther: Wakanda Forever fit nicely in order after the completion of Moon Knight’s expected 6-episode run. Wakanda Forever is one to keep an eye on as well, as production delays due to an injury to Letitia Wright have pushed the expected completion of principal photography into early 2022.
Marvel Studios intends for the animated series What If…? to occur annually and we know they’ve already done a lot of work on Season 2, so it’s likely it’ll be ready for a Summer 2022 debut. Season 1 was 9 episodes, so we’ll go with that for now and slot July 20th as the drop date for the first episode of Season 2, which will see the return of Haley Atwell’s Captain Carter and adapt a scenario from this year’s Black Widow film.
Marvel Studios seems to be aiming to have Secret Invasion ready to stream just ahead of The Marvels. Production on the series in kicking off in earnest in October in the UK, allowing for some actors to complete work on The Marvels before shifting over to Secret Invasion. If everything goes smoothly, the series should be ready for Disney Plus by September 28th, 2022, leaving a week to recover before the Captain Marvel sequel hits theaters on November 9, 2022. Truthfully, we have no confirmation that the two projects are tied together, but we’re pretending they are for the purposes of this experiment. Presumably, both of these projects would be preceded by some Marvel Legends episodes recapping the adventures of Nick Fury, Talos, Carol Danvers, Kamala Khan and Monica Rambeau before telling the next chapters of their stories.
While Secret Invasion is doing it’s thing, Marvel Studios might have to find room to drop the first of its Holiday Specials. Rumor has it that the Halloween special might just feature Werewolf By Night, a character originally believed to be starring in his own streaming series. Production on the special is set to take place early next year, so it shouldn’t be a problem to have it ready to go for, let’s say, October 26th.
Even though the entire piece is hypothetical, this one has the greatest uncertainty. I’ve recently heard a rumor that production on Echo might get pushed JUST a bit, to April 2022, making it almost impossible for it to stream in 2022. Should it hold to its originally reported January 2022 date, however, we could easily see it debut on Disney Plus by November 16th.
Should the calendar hold, Marvel Studios could wrap up 2022 with its second holiday special, the Guardians of the Galaxy Holiday Special. This one will film during production on Guardians of the Galaxy Vol. 3, so it’ll be ready to drop whenever they choose, maybe even on December 28th, 2022!
The tradition continues, as now that a few days have passed since the latest episode of What If…? dropped, Funko unveiled their latest Marvel-inspired Funko Pops. This time around, Queen General Ramonda is getting her own Funko. It’s revealed alongside the Killmonger as Black Panther design, which leaked his upcoming conflicts with the head of an Ultron sentry in his hand. It’s interesting that the Ramonda Funko never found its way online, as she had a prominent role in some of the earlier trailers.
It’s great to see Funko continue offering these characters as Funko Pop, and we’re seeing a trend of giving otherwise minor characters more focus in merchandise. They are popular collectibles and it’s great that they are rolling them out alongside their reveal in the various episodes. It adds another layer to how Marvel is utilizing their weekly releases to also create synergy with their merchandising. We still have a few episodes to go, and it’ll be interesting who else might get a Funko that hasn’t already leaked online.
Just recently, we finally got our first look at the upcoming Hawkeye Disney+ series. The big surprise was that the series is fully committing to a holiday-inspired theme, as Clint uncovers a young Kate Bishop using his old Ronin persona. It also leads to them ending in conflict with the Tracksuit mafia, as Clint tries to make it back to his family before Christmas. Of course, the trailer included a very popular Christmas song and we don’t know what the soundtrack will be. Yet, it seems that composer Christophe Beck may have hinted at his involvement with the project.
Beck took to Twitter to share the official poster alongside the new release date. He doesn’t leave any comments on the series or sharing how excited he is for the project, which makes many think that he’s advertising his involvement with the project. He’s no stranger to working with Marvel studios, as he was behind the iconic soundtrack for their first Disney+ venture WandaVision, Ant-Man, and its sequel, Ant-Man and the Wasp.
The composer had a pretty busy year, as his latest project Free Guy also recently hit theatres. What’s curious is that Beck seems to have a love for winter-themed projects. His filmography includes both Frozen titles for Disney and Netflix’s two The Christmas Chronicles films. It’s always curious to see trends in a composer’s work that hints at what type of stories they enjoy working on. Still, Christophe Beck‘s work is quite diverse with projects ranging from Pitch Perfect, Edge of Tomorrow to The Peanuts Movie. It’ll be interesting to see what touch he’ll bring to what may be the last Marvel Disney+ series for 2021.
What If… Killmonger Rescued Tony Stark? takes advantage of its freedom and the flexibility of the series to focus almost exclusively on upgrading an existing supervillain. It pairs with the Doctor Strange episode in terms of establishing a singular powerful villain as the overarching goal. The episode returns to previous What If… ? form by heavily tracking sacred timeline stories, though with dramatic alterations here. It’s an obvious mash-up of Iron Man and Black Panther, with hints of Iron Man 2, Avengers: Age of Ultron, and even a touch of Avengers: Infinity War—as a result, Episode 6 truly emphasizes how interconnected the existing MCU is in ways not obvious from the films alone.
Michael B. Jordan continues his iconic and powerful role as Erik Stevens AKA Killmonger, and the episode gives the role proper respect and recognizes his overall merit as a character. He is eight steps ahead of virtually everyone he encounters and completely dominates the entire plotline with hardly any difficulty. He continues a trend in the series of eliminating major characters and superheroes from the main MCU—in this case, Killmonger swiftly takes out Tony Stark, T’Challa, and James Rhodes.
Overall, though, Episode 6 falls flat. While it definitely explores more of Killmonger, it comes across as a kind of standard remix to our known universe’s plot without much more depth or even a solid grasp on what Killmonger’s bigger picture might be. His motivations—which are one of the strongest aspects of the character and what, along with Jordan’s portrayal with them, makes him as interesting as he is—are noted more heavily towards the end of the episode, but they are glossed over compared to their treatment in Black Panther. While Killmonger is given his due as a powerful character, it a fairly surface-level take on him.
The episode hones in on the general premise that one small change in a hero’s story can dramatically change the course of everything we know to be true. As our friend the Watcher reminds us, heroes are made, not born. If they miss their opportunity to “make” themselves, they merely become pawns in someone else’s story. Killmonger rescuing Stark—as a Navy Seal involved in an undercover operation with the Ten Rings—is all the grease Killmonger needs to succeed where he failed in Black Panther. Apparently, he already had plans for a weaponized automated drone called the Liberator, and Stark’s technology and help seals the deal to create these machines in contrast to the Iron Man suit.
In terms of performances, the voice acting in this episode is solid across the board. Michael B. Jordan is unmistakably great. Don Cheadle is quality, and Jon Favreau is very true to Happy. Andy Serkis is absolutely phenomenal and honestly gives one of the best performances of the series to date. Chadwick Boseman’s talent goes without saying. Mick McGill is decent as Tony Stark—the writing and his performance definitely capture the character well, but it’s near impossible to not stand out as not being Robert Downey Jr. in that role.
Episode 6 also continues a growing trend in the series of ending on a very obvious cliffhanger and/or generally being an unfinished story. Earlier episodes always left the door cracked for future implications, but this episode and the immediately preceding zombie episode very much leave the door wide open for their respective stories to continue. It certainly implies that What If… ? is building to something bigger and something that likely involves interconnecting episodes.
Even so, the Watcher—who certainly acts as a connector—does not involve himself whatsoever, leaving the Doctor Strange episode as the sole exception to his general narrator-only role. He does, however, look noticeably unhappy and disturbed as a giant head in the sky at one point. While Killmonger certainly rules the day in this episode as he makes his way to become the Black Panther, the Watcher does cue that heroes—specifically our classic heroes—never die as they live on in those they inspire. Perhaps we will get to see later in this season or further down the line what Shuri and Pepper have to offer against Killmonger in this universe.
Well, if Marvel Studios hopes to introduce the character of Jessica Jones into the Marvel Cinematic Universe, it seems like Ritter would certainly be down to join any project. She shared her enthusiasm to return to the character in an interview with ScreenRant and shared her excitement about potentially returning as the character at some point if she was offered by Marvel Studios.
I would absolutely just die to play Jessica again. I had the best time doing it and I just love her so much. I’m so proud of that character. Not only because it was like a great role and she’s such a bad-ass, but that character has really resonated with people in a way that I don’t know who else has. Really, really resonated with women and girls, trauma survivors. It’s just so, so big and such a thing I’m so grateful to have been a part of. So if there’s ever an opportunity for me to put on those boots, I will be there in a flash.
The actress is currently busy advertising Netflix’s Nightbooks horror film. She-Hulk wrapped production some time ago and if she’ll appear, she may have already filmed a few scenes. There’s also the question ofwhat the future has in store for the character if she does end up joining. Diseny+ may become the new home for street-level heroes and we might hopefully get an idea as the franchise expands.
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